the big paintings and assisted in taking them down to be photographed.

He delivered six lectures, three to the students and three to the general public. "To the theologians were given what is instructive in the symbolism of the Mosaic Dispensation"; to the public, talks were on "the use of art, the paintings in the Roman Catacombs, and Ary Scheffer."

As the time for his return drew near he wrote his wife: "Now my visit is ending and I go back to hard work, to me the occupation that wears best and pays most. What solace there is in the persuation that our work of whatever kind is, by devout intention, a God service-be it acknowledged and valued by men or neglected and forgotten. We can do no more in the world of toil and tears than faithfully sow our seed and let the Lord of Heaven, of the rain and the sunshine, take care of it against the day of harvest."

CHAPTER XVII.

And so he returned to his studio and plunged into work. The main object of his life was accomplished, but he could not rest. His portfolios were filled with designs made in former years but never painted, and his brain continually evolved additional subjects. It was just as if he were driven. Work, work, work unceasingly, grinding out pictures. It was a general family joke how he was filling the studio with them-and they could not be disposed of except as gifts.

From his portfolios came timeworn sketches and designs, and they were rapidly painted; from the walls of house and studio were taken pictures to be revised and worked over according to what he considered the needs of each.

"The time has come with me," he said, "that instead of constantly rolling out new things, many of them have to be left as sketches or incomplete productions to give accumulations of many years more adequate expression, so that in case they can be brought together they form as it were by a certain continuity of thought a harmonious gallery. I have come where many of the hesitancies and timidities or ignorance of former years can be corrected and a good subject redeemed from inadequate expression."

Immediately after his return he painted another "Rock of Ages" and a Crucifixion "It is Finished," and presented them to St. Mary's House, Sewanee. Then "The King of Truth," the thorncrowned Christ in purple robe, seated.

Besides these there were many sketches and studies.

As the end of the year approached it seemed to admonish him of the rapid flight of time and his own shortening days and limit for action, and the pressure and speed were increased.

In a letter to Mr. Hyde (Dec. 8), after enumerating the various works produced during the year, he says: "There seems continually in my mind the resolution: 'I must work while it is day.' How do I know that my strength or life will last very much longer? And, having only a limited measure, solemn duty requires that I crowd it with work to the utmost. My big room is comfortable. You will not have to be informed, by an obituary in the papers, that an old artist with sluggish circulation and more persistency than prudence was found one cold day frozen to an icicle in his too large studio.

"On the contrary, that same persistent individual proposes and expects to do a huge amount of work during the winter months and in spite of the shortened daylight."

It may seem strange to the reader that little is given in this narrative except the "work" done, but what else could be told of one whose life was spent in toil? Friends he had and visited, and a few came to his studio, but in these days, except to a very few, he seemed to grudge the time consumed.

Some little recreation and exercise he allowed himself, and persisted in riding his "wheel" in spite of former mishaps and repeated warnings.

He came to his meals after the bell had been rung several times and he had also been sent for and told the bell had been rung, and after the meal was over it was always the same "Well, I must get back to my work." He read much, but his mind ran in a rut. He saw in the doings of the world only signs of the approaching "end of the Dispensation," and became almost morbid on the subject. It seemed to him that prophecy was rapidly being fulfilled, and in his reading of current literature he searched out only such things as pertained to that subject.

The last work made in 1903 was a duplicate of "The Holy Grail."

What was done with this painting is not known. During these last years he became very secretive and often when he disposed of a painting, i. e., gave it away, he would say nothing about it even to his wife.

The first thing attempted in 1904 was the painting of "The Death of Saul," or "The Judgment of King Saul," from 1 Samuel 31:36. This was an old composition, made years ago in pencil, which work he describes as "a veritable specimen of laborious exactness and rigid classification of former years." This is 31 by 53 inches in size and painted in four tints only, from reddish brown to ivory black, and giving the impression of a monochrome.

Then from his easel came in rapid succession